Comics for Beginners

How to Write & Draw Comics

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Ask the Right Questions

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Going to conventions is one of the best way to learn about the industry, meet new people and get advice from peers and pros. But often wannabe creators will waste the opportunity to learn by talking about themselves or asking the wrong questions.

“How do I break into comics?” is one of the questions I hear a lot by aspiring creators. The question is not easy to answer in a meaningful manner – and it certainly won’t be a short answer (my best and shortest possible answer is this podcast episode). It also requires a lot of background information on the person asking the question.
When not asking impossible questions like the one above, these creators will try and impress whoever they are talking to, pitch their comics ideas, tell rambling stories about their journey and aspirations – instead of using the opportunity to gain new insights and valuable knowledge. I’ve certainly been guilty of this myself. Becoming a better listener and asking smarter questions is something I would like to improve. So you could say this post is just as much for me as it is for you.
So instead of asking “how do I break into comics?” here is a list of smarter questions you may ask peers and pros alike, when you get a few minutes of face time at a convention or pin them down in a Twitter conversation:
  • What areas of my art do you see needs improvement?
  • What are your favorite cons to go to and why?
  • Who do you think I should meet while I’m here?
  • What is one thing people get wrong about the way the business works?
  • Is there any resource you can point me towards that could help me learn more about X?
  • What’s a mistake you see a lot of beginners make?
And then I also recommend taking notes! Either during the conversation or directly after. You can’t even memorize your Mom’s phone number so I’m willing to bet you can’t remember a key insight from a conversation a week later. It’s one thing to ask better questions but you also need to actually listen to the answers.
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If you have a question for me, leave a comment below!

Dealing with Tangents in your Art

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One of the most important art lessons I ever got was when my studiomate Ole Comoll showed me what tangents are – and how to avoid them.

In this video I try to pass that lesson along while using examples from my own art. Tangents are everywhere – and once you see them, you can’t unseen them. You’ve been warned!

Step-by-Step Guide: My Comics Process

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This is my next graphic novel project! Filling in the blanks should be no biggie, right? Well, there’s a little more to it than that.

I recently posted this picture on Instagram and Facebook that got a lot of likes – and a lot of questions! So I thought I’d elaborate a bit on how I actually tackle the creation of a comic or graphic novel. I go into detail with certain elements in my premium 10-video tutorial series, but these are the basic steps I go through every time.

1: Script

Having a finished script before you start drawing increases your chance of actually finishing with about 3000 percent. The first 2 videos of the premium series covers this (and those episodes are free). Sometimes I’ll get a script from another writer but I often work off my own or have to break the story down into pages.

2: Thumbnails

This is little scribbles just to get a grip of the page breakdowns. I don’t neccesarily do it for every page but it can be very helpful. The more I plan before I start drawing, the more smoothly the rest of the process. There is a podcast episode about making those hard choices here.

3: Rough sketches

Once I know sort of what the layout of the page will look like, I can start rough sketching pictures. As you’ll notice, this is bare bones storytelling, just enough for others to make out what is going on. No more, no less. I usually sketch on half pages, not full size. No need for bigger format when I’m not doing details – in fact the smaller format often helps in creating a clear layout.

4: Borders and lettering

After scanning my rough sketches, I put them in an InDesign document. If it’s an issue of a comic, I’ll make seperate 22-page files that stick to the same template. I’ll start by creating a standard border for the entire project and just plunk that in between all the frames. Then I’ll put the lettering in where it needs to go. Please note, that this is not the final document! I can adjust the lettering once I have the finished art. For full breakdown of this process go here.

5: Borders and balloons

Using a print-out of my now lettered rough sketches, I am ready to draw the actual pages. BUT, since I might need my borders and speech balloons in a clean format, I do the boring work of inking that part first. This is what the image I posted on Instagram portrayed – I can see why there was some confusion as to how I actually worked!

After I’ve traced the borders and balloons on the board I intend to do the rest of the artwork on, I scan the whole thing. Why? I’ll explain in step #8.

6: Sketching

Using my rough sketches as a guide, I’ll sketch the pages going into more detail, especially on backgrounds and stuff. A picture might change from my original ideas, but I always stick within the frames I already decided on. There’s a video of that process here.

7: Inking

Using a lightbox I trace my skectched pages on the boards that already has the borders and balloons. I can adjust the images a bit if needed. Sometimes I do painted art and other times I ink with black markers. There’s a video of me inking a page of Thomas Alsop here.

I don’t need to worry about paiting outside the borders in this stage because I’ve already scanned the clean pages with just balloons and borders, and no art.

8: Scanning and clean-up.

Remember when I said I might need the borders clean? This is the step. I used to I scan my inked pages and clean up mistakes where I painted outside the frames or over speech balloons. Now I just use the already scanned borders. I just smack my clean borders over the finished art in Photoshop, turn the opacity down a bit so I can see what I’m doing and adjust the corners. It took me a while to figure this out, because sometimes a scanner will skew things a little bit. But I discovered that if I do a “free transform” and focus on the four outer corners of the borders, the rest will sort itself out.

Once the two layers match up, I’ll select all the white within the frames on the top layer and delete that. Then I turn the opacity of the layer back up to 100% and viola! I now have a layer with nice, clean borders and balloons on top, and whatever mistakes (painting outside the borders) I made are hidden underneath. I flatten the file and export it, usually as a high-res tiff file.

8.1: Coloring (optional)

I’m not gonna go into detail here, but you might want to check out this post on coloring in Photoshop.

9: Repeal and replace!

Admitted, I don’t really call it that. But I do have to go through my already lettered InDesign file and delete all the border blocks and replace my rough sketch with the finished art. Some adjusting to the lettering is usually neccesary but then I have the entire book or issue ready to send to the graphic designer or export as a PDF directly for print.

10: Celebrate

I usually skip this step, honestly. But having typed up this post and seeing how much work goes into creating a graphic novel, I feel like I should make a point of this going forward.

Hopefully this answered some of your questions and gave you a few ideas to implement in your own process. Please share this post if you found it helpful!

 

 

Comics for Beginners Podcast Episode 30 – Why We Quit

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Making comics is fun – but also hard and lonely work! What do you do when you are dissatisfied with your story or your art? How do you stay motivated, when no one seems to care? How do you stay on track when you meet resistance from within? I offer some personal advice and insights in this episode.

Mentioned in this episode:

My graphic novel The Devil’s Concubine, which was almost abandoned
My crime noir graphic novel STILETTO finally available in English! Check it out at Thrillbent
Thomas Alsop vol. 1 trade paperback (collects issues 1-4)

Drawing for a Living – Podcast episode 29

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Inspired by an article Molly Crappable wrote on freelance life, I sat down and had a discussion with myself about what it takes to survive as a one-man army. If you’re a struggling freelancer or considering becoming one, this episode is for you!

Molly Crabapple’s 15 rules for creative success in the Internet age

Why daily sketching doesn’t work

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Woodsman_COLORYou know how important it is to draw every day, if you want to improve as an artist. But more importantly, you need to keep a forward momentum and draw the hard stuff.

A lot of artists share daily sketches on Twitter and Facebook. While that’s a perfectly valid thing to do, I see one common problem with most of these sketches – they are all very good! The problem here is that the artist has sat down with a blank piece of paper and drew whatever he felt like, whatever image he had in his mind.

Let’s imagine you were to do the same. Wonder what image would pop up?

I’ll take a wild guess: Character shot.

Whether it’s a macho superhero, a funny animal or a sexy robot, the problem with that image is exactly that it came from inside your head. And let’s face it: not much new comes from inside your head.

I used to only draw muscular guys with swords and dragons. While I did get slightly better at drawing guys with swords and dragons, this daily exercise didn’t help me get better at drawing. Not by a long shot.

What DID make me better, was being forced to draw stuff I didn’t already know how to draw, the “boring” stuff like flowers in a vase, and the hard stuff, like a street full of houses and cars and trees and people .

Unless you push yourself and draw from life, study and copy from photo reference and other artwork, you’ll only be maintaining your drawing muscle, not improving it. When it’s really hard and frustrating – THAT’S when you’re on your way to getting better.

Imagination is overrated. You need input to produce output – even original, fresh and innovative output!

Sketching daily only works if you push yourself to draw the stuff you can’t.